Description of performance:
In winter 1968 Valie Export went for a walk - with Peter Weibel as a dog. He was wearing a dog leash and was crawling on all fours through Vienna's Kärntnerstraße. To show a human as a dog in a dependency in the term of a relationship between human and animal caused a lot of displeasure in the Austrian publicity. The boulevard press was writing “that it’s enough now”. In winter 2010 'Peter Weibel' went for a walk with 'Valie Export' as a dog. She got also a dog leash and crawled on all fours through Vienna's Kärntnerstraße. To show a woman as a dog, in a dependency of a man caused also a lot of displeasure not only in the Austrian boulevard press.
Serial This is not...?
The essential input for the THIS IS NOT...? Sequels are works and lifes of prominent artists (also TV-, show-, advertisement and other entertainment stars, as well as politicians); topic of a surrealist juxtaposition with René Magritte's Ceci n'est pas une pipe / This Is Not a Pipe. Analysis is considered as a deduction of reality.
SUPER NASE & Co – God’s Entertainment support act for reducing the audience’s esthetical demands
Trabalhando com desenhos a carvão, recortes de papel, animação e teatro, William Kentridge vai além dos temas políticos de seu país, a África do Sul, e chega a assuntos contemporâneos universais. Filmado em Johannesburgo e durante a visita de Kentridge ao Brasil, para a Mostra Africana de Arte Contemporânea, o documentário explora os temas que estimulam seu processo criativo.
Films, drawing, installations, theatre, opera: William Kentridge, one of the most important names in South African contemporary art, easily glides between different media, in a combination of references and techniques that render his work unique. In this documentary, which follows him through Johannesburg and Brazil, he speaks of the impact of the landscape and the social contradictions on his work, and comments on the life of characters like Felix Teitlebaum, his alter ego. Shot in digital video and in highly grainy super-8 stock, in a reference to the author's charcoal drawings, the film shows the setting up of a previously unseen installation featuring virtual fish and a real car, commissioned in 2000 by Associação Cultural Videobrasil for the Contemporary African Art Show in São Paulo.